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Transpressor

Using the Transient Designer

Guitars

Use the Transient Designer on guitars to soften the sound by lowering the ATTACK. Increase

ATTACK for in-the-face sounds, which is very useful and works particularly well for picking

guitars. Or blow life and juice into quietly played guitar parts.

Distorted guitars usually are very compressed, thus not very dynamic. Simply increase the

ATTACK to get a clearer sound with more precision and better intonation despite any distor-

tion.

Heavy distortion also leads to very long sustain. The sound tends to become mushy; simply

reduce SUSTAIN to change that. If you, however, want to create soaring guitar solos that

would make even David Gilmour blush, just crank up the SUSTAIN control to the max and

there you go.

With miked acoustic guitars you can emphasize the room sound by turning up SUSTAIN. If

you want the guitars to sound more intimate and with less ambience, simply reduce SUSTAIN.

The Transfer Of Dynamic Structures

This application requires two modules in the basic and four modules in stereo mode. Feed a

master module with a kick drum track and select high ATTACK values. Don‘t care about the

output signal, it is not used or plugged anywhere.

Now feed the second module with a keyboard track for example. Run this second module as

slave in LINK mode. The attack of the kick drum will now be applied to the keyboard track. If

you vary the ATTACK or the SUSTAIN of the master module you can easily optimize the results.

This method is also very useful to make kick drum and bass ﬁt together like a hand and glove.

The bass simply receives the attack of the kick drum. If kick drum and bass are already tight,

added ATTACK on the kick drum track emphasizes the transfer of drum attacks to the bass

track. If kick drum and bass are less tight, SUSTAIN variations on the kick drum track allow

you to “catch” the bass and get it closer and tighter to the kick drum.

Bass: Staccato vs. Legato

Speaking of bass: Imagine a too sluggishly played bass track ... you may not have to re-record

it: Reduce the SUSTAIN until you can hear clear gaps between the downbeats—the legato will

turn into a nice staccato, driving the rhythm-section forward.

The Re-Invention Of Reverb

With all reverb applications mentioned below, the left and right channels of the Transient

Designer are connected to the DAW or console and panned hard to left and right (or where they

would have been panned to without the Transient Designer) to achieve the same stereo image.

Always and everywhere the same reverb presets – boring, aren‘t they? Try looping the left and

right output of your reverb through two linked Transient Designer modules. Now crank the

master ATTACK control to the max and reduce SUSTAIN to a bare minimum. The intensity of

the reverb is now much higher in the beginning while the reverb time is reduced.

The opposite can be just as intriguing: manipulate a reverb pattern so that it takes on a pyra-

midal slope. Turn the ATTACK all the way to the left and SUSTAIN all the way to the right.

Now the beginning of the reverb is strongly reduced whereas the sustain blossoms and seems

almost endless (obviously that will only happen if the decay of the reverb in the actual reverb

device has been set to a sufﬁcient value—a signal must always be present as long as the

sustain time lasts.)

You can also create a reverb effect that moves from one channel to the other. Reverb presets

with a long decay or a long pre-delay and especially those that have ﬂamboyant reﬂections

set to appear after the beginning of the diffuse reverberation tail are predestined for that.

Insert the left and the right channel of the reverb through two Transient Designer modules

that are NOT running in LINK mode this time. Turn the ATTACK fully right on one module and

reduce SUSTAIN slightly (about -1.5 dB). On the other module turn the ATTACK fully left and

the SUSTAIN to the 3-o‘clock position (about +12 dB).